Subject: Egil's Saga Goal of Project: To create a proposal to submit to a research conference.
Timeline: October 10th: Meet with prof Tracy to discuss conference requirements, thesis ideas, and where to start looking October 15th: Checkpoint 2, Look at Previous Conference Presentations on Battle of Maldon, Thesis Ideas Mapped Out November 5th: Checkpoint 3, Thesis Chosen, Outline Mapped Out November 17th: Check in with Prof Tracy on Project. Have something written for feedback November 24th: Checkpoint 4, First Rough DraftCompleted December 12th: Final Project Handed in December 19th: GRADUATE! :D Spring 2015: Present Findings (hopefully) at Keene State!!
Checkpoint 2:
Summary of Egil's Saga
Although centered around the life of Egil, the first half of this saga revolves around Egil's Father, Skalla-Grímr, and his uncle Thorolf. Thorolf ends up having a very rocky relationship with King Herald, serving him through raids, yet wanting to keep his independence. In the end the relationship becomes the death of Thorolf, and Skalla-Grímr along with his father flee to Iceland away from the King. The saga then tells the story of Egil and his brother Thorolf (named for his uncle) as they grow up and live their lives together. We find out the the brothers are very different, Thorolf being very handsome and charismatic, while Egil on the other hand is very brutish physically and in character. We see that from a young age Egil is quick to anger, and can be quite violent. He is what is known as a "berserkir" and we see in his childhood that he struggles to control it. Egil becomes a man of poetry as he grows older, and uses it to express himself, even if it means mocking somebody else. He mocks Bard with his poetry, and Bard attempts to poison Egil. Bard’s plan fails, and Egil ends up killing Bard in retaliation for hi attempt on his life. Egil then goes to fight for King Eirik alongside his brother Thorolf. Later in life we learn that Thorolf is also a berserker, and is sent to fight in battle with his brother Egil by the King. Egil argues that his brother should fight alongside him, but the King separates them, and Thorolf meets his death, not understanding the full responsibility of being a berserker. Egil, upset by the loss of his brother, makes a bit of a scene at the banquet hall of the King after battle. The King offers him a tribute for the loss of his brother. Egils life is narrated through both the prose of the story as well as his poetry.
Close Readings: “Kveldulf said, ‘my foreboding is that I and my sons shall get no luck from this king: and I will not go to him. But if Thorolf returns this summer, he will be easily won to this journey, as also to be made the kings man. Say you this to the king that I will be his friend, and will keep to his friendship all who heed my words; I will also hold the same rule and authority from his hand that I held before from the former king, if he will that it continue so still, and I will see how I and the King agree.’” (Chapter 5, Egil’s Saga)
In the above passage, we see our first interaction with Egil’s family line and a ruling King. Kveldulf is wise, and knows that the affection of a king usually comes with a price, and Kveldulf is not willing to pay that price at his current time in life. He also realizes, however, that his son may have a different opinion, as he is younger and has more to offer to the king. Kings during this time were very generous to those who served under them. However, that often meant fighting in a war, and many would often lose their life or become seriously injured in the process. Those who made it back were gifted with ranks and riches from their king. The king realizes that Kveldulf would be a good ally to have on his side, and therefore reaches out in hopes to gain him as an asset. Kveldulf respectfully declines, but offers the same show of respect and service that he had shown his previous king, and asks only that the king returns that favor to him. He is very smart in the way the he responds to the king, and understands the importance of showing respect while at the same time holding his ground regarding his answer.
“The king saw to the healing of his men, whose wounds gave them hope of life, as also to the burial of the dead with all customary honours. Thorolf and Bard lay wounded. Thorolf’s wounds began to heal, but Bard’s proved mortal. Then Bard had the king called to him, and spoke thus” ‘If it so be that I die of these wounds, then I would ask this of thee, that I may myself name my heir.’ To this when the king assented, then said he: ‘I will that Thorolf my friend and kinsman take all my heritage, both lands and chattels. To him, also, will I give my wife and the bringing up of my son, because I trust him for this above all men.’ This arrangement he made fast, as the law was, with leave of the king. The bard died, and was buried, and his death much mourned. Thorolf was healed of his wounds, and followed the king, and had won great glory.” (Chapter 9, Egil’s Saga)
In this passage, we see the death of Bard, who has served his king in a great battle were many have died. Although he made it through the battle itself, his wounds are fatal, and he now lays dying. He requests the king’s presence so that he may express his last wishes, and the king can make sure that they are upheld. It is the king’s responsibility to see over the law of the land, and to make sure that any death under his rule has proper tribute paid to the family. Upon bard’s death, the king not only makes sure that Thorolf, who has been named the hair of Bard’s inheritance, not only returns to the family with what was left to him, but he rewards Thorolf for his service, as well as Bard’s service. This is a way that the king shows respect to the families of those who have fallen, and ensures that if there arises another battle, his men will return to fight with him again.
“’Thou didst bear thyelf well, Thorolf, then thou wert with us; and this, I think, is best to do still, that thou join my guard, bear my banner, be captain over the guard; then will no man slander thee, if I can oversee night and day what thy conduct is.’ Thorolf looked on either hand where stood his house-carles; then said he ‘Loth were I to deliver up those my followers: about thy titles and grants to me, O king, thou wilt have thine own way, but my following I will not deliver up while my means last, though I manage at my own sole cost. My request and wish, O king, is this, that thou come and visit me at my home, and the hear word of men whom thou trustiest, what witness they bear to me in this matter; thereafter do as thou findest proof to warrant.’” (Chapter 16, Egil’s Saga)
At this point in the saga, the king has heard of some slander about Thorolf from some of the other men who serve under him. Knowing that the relationship between a king and his men is a very delicate balance, this starts to compromise things for Thorolf. He has approaches the king with not only his payment of what he has collected, but some other gifts as well, that he hopes the king will take in good faith, knowing that Thorolf is indeed loyal to him. The king, however, not trusting Thorolf, decides that although the gesture is well placed, he would rather Thorolf take a position where the king can keep a close eye on him. Similar to the reaction of his father Kveldulf, Thorolf knows that there are prices to being so devoted to a king, and respectfully declines the offer. He knows he must keep the peace though, and invites the king to visit his home and speak to the people of his kin and ask them of his trustworthiness. The king is not pleased, however, with Thorolf's answer. This starts to create a spark of tension between the King in Thorolf that, we find out later, will ultimately lead to Thorolf's death.
Annotated Bibliography
Guðmundsdóttir, Aðalheiður. "The Werewolf in Medieval Icelandic Literature." The Journal of English and Germanic Philology 106.3 (2007): 277-303. JSTOR. Web. 17 Nov. 2014.
In this article, we get a look into the idea of shape shifters, as well as the idea of a "berserkir" warrior. The article starts by discussing the vocabulary used in the sagas to describe those who have the ability to take form of a wolf or bear. The word "hamr" can be used either to describe the actual taking form of another creature, or it can also translate to mean the putting on of a pelt of another creature. It then continues to discuss how the word "berserkir" is derived from a word meaning "bear skin" and can be associated often with people who have the shape-shifting ability. After looking at these ideas of ware wolf and ware bear, the author then asks the question, where do the ware wolves come from if there are no wolves that are native to the Icelandic lands? The author continues to discuss the importance of wolves in literature, both in Icelandic Sagas, as well as others and suggests that maybe the wolves came into the sagas from an outside influence such as the Celtics. We do determine in the end though, that the idea of a shape-shifting warrior was a tradition that showed up in many of the sagas and was important to the culture of the Icelanders.
Hume, Kathryn. "From Saga to Romance: The Use of Monsters in Old Norse Literature." Studies in Philology 77.1 (1980): 1-25. JSTOR. Web. 17 Nov. 2014.
In this article, Hume examines the evolution from the Icelandic Saga, to the genre of Romance. She argues that the element of the supernatural, although not the sole factor, is one of the key ways we can look at this evolution, and see where the stories went from family sagas to courtly romances. The article argues that the supernatural influences are “trivial and artistically uninteresting’. It is also stated that one of the reasons that people might have become more drawn to romance over family sagas is that they were yearning for less realistic literature and more literature where they could escape their lives and read about the romances they dream about instead. Using sources such as Egils Saga, Beowulf, and Tolkien’s “The Monsters and the Critics” Hume makes a strong argument for the evolution of literature using the supernatural element as the theme to follow.
Schach, Paul. "Instant Saga Style: The Evidence of the Manuscripts." The Journal of English and Germanic Philology 85.3 (1986): 404-20. JSTOR. Web. 17 Nov. 2014.
This article explores the idea that the manuscripts of the sagas that we have today may not be the original form of the sagas as they were first written. Schach argues his side be taking a look at the form in which the sagas we have are written. The style of the writing and the language that it uses shows a difference, despite being written by the same author. By comparing not only different sagas, but also same sagas from different manuscripts, we can see that the styles very greatly, some by large word counts, and others simply by the style of wording that is used. The style in which most of these sagas show up relates to a lot of the same style that we see the stories of saints being told, suggesting that the original sagas may have been told in a more complex style that the sagas we are familiar with today.
Checkpoint 3
Annotated Bibliography
Finlay, Alison. "Egils Saga and Other Poets' Sagas." Introductory Essays on Egils Saga and Njáls Saga (1992): 33-48. Web. 14 Dec. 2014.
In her article, Finlay explores different poet sagas in Icelandic culture, using Egil as a base for the comparison. We can see, like others who have tried to categorize Egil’s Saga that it does not quite fit in with others of its kind. We learn that the poets’ sagas revolve a lot around love and wooing a woman, where we only see Egil’s love for his wife (who is his brother’s widow) as part of a larger picture. Finlay also points out that Egil’s appearance is strikingly different from the other poets, separating him even more from the standards put in place for poet sagas. However, in the end we see that Finlay categorizes Egil as a poet saga, placing it differently than the family sagas, or Icelandic fiction like we have seen others do.
Grimstad, Kaaren. "The Giant as a Heroic Model: The Case of Egill and Starkadr." Scandinavian Studies 48.3 (1976): 284-98. Print.
In her article, Gremstad takes a close look at Egil’s Saga, and asks a very important question about the text; should this saga be judged on the same level as other family sagas, or should it be looked at as a different style? She argues that although we see the traditional telling of the family history, tracing back to more than just the immediate family of our hero, we can see that there are many elements that are a bit too supernatural to have this part of the family sagas, which are traditionally more historical. That is not to say, however, that this kind of story is not unheard of in Icelandic fiction. Egil’s author makes a deliberate decision not to make the family more ‘humanized” in order to keep the story to the family saga traditions, but instead focuses a lot of the idea of the giants in the family line.
I found this article within the bibliography for Kathryn Hume "From Saga to Romance: The Use of Monsters in Old Norse Literature."
Hines, John. "Kingship in Egils Saga." Introductory Essays on Egils Saga and Njáls Saga (1992): 15-32. Web. 14 Dec. 2014.
In his article, Hines discusses an introduction to the idea of kingship in Egil’s Saga, and how it very strongly effects the storyline at hand. We can see from the very beginning of the family line that there has always been a struggle with Egil’s family and the kings they are associated with. In fact, some scholars might even go as far as to claim that the family is cursed. Exploring the relationships of king staring with banishment, and going as far as the death of Egil’s father, we can see that Hine’s argument that kingship moves along the story of this text holds strong. Despite Egil’s ability to keep cool tempered or not, the social definition of what makes for a “good king” can be used as a solid argument for the poor treatment of Egil’s family.
Reflection
While researching Egil’s Saga, I found that there are three topics that seem to be popular among the scholars that have been published. They are concerned with the style of the sagas, the idea of a berserker, and the element of the supernatural within the text. Some of these three even overlap in some of the articles such as Grimstad’s “The Giant as a Heroic Model” where she uses the idea of a supernatural element as part of her argument for the style of the text. There are a number of different ideas about how this text should be looked at, whether it is as a work of fiction, or as a family saga. All of the articles seem to agree though that this text is not part of a cookie cutter style that fits in with others of its time. Hume also argues the influence of the supernatural on the saga, saying that it is part of the evolutionary path of the style of literature during the time. Guðmundsdóttir’s "The Werewolf in Medieval Icelandic Literature" speaks to the idea of the berserker in the Sagas, as well as a supernatural element pulling apart the idea of a werewolf in sagas by arguing that the people of Iceland would not know what a wolf looks like, as they are not native to the country. He also discusses the idea the translation might have a key to how we read the saga, as we could be misinterpreting what the author was trying to get across. The scholars often try to compare the text to the other Sagas, questioning its authorship and reliability.
Query
What question about your text(s) has occurred to you as you have completed your research? Why is Egil’s saga so different from the other sagas? I agree with Grimstad’s argument that although it is not in the traditional style of the family sagas, it is no unusual for the culture to have a text like this, but I am really wondering why it is so different and why there are note more that are like it within the family sagas. Could they have been lost through time, or was this one just a new style that the author was playing around with?
Is there an argument in the scholarship that has made you question a point or points in the text(s)? Guðmundsdóttir’s "The Werewolf in Medieval Icelandic Literature" made me question the use of werewolf in the text. How could they know what a wolf looks like if they had not encountered them before? Could that be a mistranslation? And if so, are they referring to another creature, or are they referring to the general beast like nature of the person being described? Grimstad’s “The Giant as a Heroic Model” stated that Egil is described as a berserker, but we never get given a full scene where we are given the details of his berserker moment, but we are told about his superhuman abilities. Could Egil have been a berserker, or was he just an extremely lucky and extremely skilled warrior?
Is there something confusing about the text(s) that you think would be worth exploring? I think exploring the idea of a werebear and the berserker warrior is one that I am interested in, and from my research, can see has been an interest of many scholars. Can these warriors have really existed, or are they simply people who are extremely talented in war? Could some of these physical attributes that would qualify them to be part giant or part animal in battle really be just some sort of genetic disability instead of a strange power? I would be interested to know more about these ideas and read what more scholars think of the idea of shape shifters, berserkers, and giants.
Checkpoint 4
Abstract
Egil’s Saga is a text that a lot of scholars don’t quite know what to do with. Its elements of supernatural, poetry, and family lineage make it unique in a way that it doesn’t fit nicely into just one genre of Icelandic literature. One theme that is extremely prominent in Egil’s Saga is the idea of kingship. The Egil’s family line, from the very beginning of the saga, seems to have a difficult time working alongside kings. Some scholars have even gone so far as to call the family cursed when it comes to kings. The relationship that a family has with e king can play a vital role in how that family lives, or in some cases how they don’t live. A king can be judged by their people on how they treat those who serve them, and I feel that no Saga shows this relationship better than Egil’s Saga.
In my journal article, I would like to explore the importance of kingship in Egil’s saga, and how it plays a major role in making this text so unique among the others of its time. I would like to take a specific look at Egil’s relationship with King Athelstan, as well as Thorolf’s relationship to King Herald. I think that these two relationships speak strongly to the idea of what it is to have a relationship with a king, and what kinds of good and bad fortune it can bring upon a family. I would like to compare the leadership of King Herald to King Athelstan as I believe they handle things in very different manners, and it makes for a very different outcome for their subjects. Using historical references, I would like to take a look at whither King Herald or King Athelstan would be considered “good” Kings of their time based on the interactions they have with Egil’s family.
Argument
Finlay, Alison. "Egils Saga and Other Poets' Sagas." Introductory Essays on Egils Saga and Njáls Saga (1992): 33-48. Web. 14 Dec. 2014.
What is the article's argument?
Finlay argues that Egil’s Saga falls into the category of Poet Sagas more than the traditional family saga form. She argues that the style in which the author presents Egil’s poetry, and the element of love that we see in the other poet sagas makes Egil fit nicely under that title.
Why do you disagree?
From the description that Finlay gives about the other poet sagas, I do not feel that Egil’s Saga fits nicely into the category, and I would argue that the saga falls more into the family saga genre because of its detail to heritage, and importance it gives to the family line. I think Finlay makes a lot of strong statements in her article that shows more than Egil’s Saga is in fact, not a poet saga, and I do not feel that she had convinced me by the end that that is where the saga should be.
What evidence from the text(s) support your reading?
Finlay points out early on in her article that an important element of the poet sagas is the theme of romance, and the idea of wooing a woman with poetry. Although there are moments of romance in Egil’s Saga, and Egil does woo his brother’s widow, there are many other strong themes in the text that overshadow this theme. Finlay also points out that Egil is not like the other poets in the sagas, stating that all of the other poets are described as handsome, whereas Egil is described as unattractive, having some irregular shaped features in his face and body. I feel that because of the strong detail to Egil’s family and their heritage, (we do not even get to meet Egil until more than halfway through the text) that this saga fits more appropriately into the family saga genre.
Annotations
Fjalldal, Magnus. "A Farmer In The Court Of King Athelstan; Historical And Literary Considerations In The Vinheidr.." English Studies 77.1 (1996): 15. Academic Search Complete. Web. 15 Dec. 2014.
In his article, Fjalldal examines the possibility of historical accuracy in Egil’s saga, specifically looking at what is known as the “Vinheior episode” which encompasses chapters 50-55. Using arguments of his peers, as well as his own theories, he argues for the idea that the saga is a blend of historical tellings, as well as a fabrication of fiction. The battle that takes place in this episode has been theorized to be an actual historical battle, and many believe that it seems more fictional due to the oral tradition. Fjalldal also examines the scene in the hall after the battle and analyzes the interaction between Egil and King Athelstan.
Andersson, Theodore. "The King of Iceland." Medieval Academy of America, 74.4 (1999): JSTOR. Web. 15 Dec. 2014.
In this article, Andersson explores the controversy of having a King in Iceland. Iceland did not always have a King to rule over it, and when the Norwegian King came in to rule over the people, it was not something that was accepted overnight. Andersson points out that that we do not find a lot of the attitudes towards the politics of the time due to the nature of Icelandic literature having a lot of recorded facts, but very little implications on general attitudes towards political matters. He specifically references Egil’s Saga in his paper as an example of a text that speaks about kings in Iceland, but not much about the public attitude towards them.
Árnason, Vilhjálmur. "Morality and Social Structure in the Icelandic Sagas." The Journal of English and Germanic Philology 90.2 (1991): 157-74. JSTOR. Web. 15 Dec. 2014.
In this article, we see the author argue the idea of morality in the Icelandic Sagas. The author states that there are two views to use for judging morality, the “romantic” and the “humanistic”, both of which involve some sort of religious viewpoints. The author points out that this can be very helpful in identifying the author, as it can help to identify the religious influences on the text. The author continues to talk about conscious and unconscious morals that are highly influenced by the social structure around the character.
Medievalist for a Semester Project
Subject: Egil's SagaGoal of Project: To create a proposal to submit to a research conference.
Timeline:
October 10th: Meet with prof Tracy to discuss conference requirements, thesis ideas, and where to start looking
October 15th: Checkpoint 2, Look at Previous Conference Presentations on Battle of Maldon, Thesis Ideas Mapped Out
November 5th: Checkpoint 3, Thesis Chosen, Outline Mapped Out
November 17th: Check in with Prof Tracy on Project. Have something written for feedback
November 24th: Checkpoint 4, First Rough Draft Completed
December 12th: Final Project Handed in
December 19th: GRADUATE! :D
Spring 2015: Present Findings (hopefully) at Keene State!!
Checkpoint 2:
Summary of Egil's Saga
Although centered around the life of Egil, the first half of this saga revolves around Egil's Father, Skalla-Grímr, and his uncle Thorolf. Thorolf ends up having a very rocky relationship with King Herald, serving him through raids, yet wanting to keep his independence. In the end the relationship becomes the death of Thorolf, and Skalla-Grímr along with his father flee to Iceland away from the King.
The saga then tells the story of Egil and his brother Thorolf (named for his uncle) as they grow up and live their lives together. We find out the the brothers are very different, Thorolf being very handsome and charismatic, while Egil on the other hand is very brutish physically and in character. We see that from a young age Egil is quick to anger, and can be quite violent. He is what is known as a "berserkir" and we see in his childhood that he struggles to control it.
Egil becomes a man of poetry as he grows older, and uses it to express himself, even if it means mocking somebody else. He mocks Bard with his poetry, and Bard attempts to poison Egil. Bard’s plan fails, and Egil ends up killing Bard in retaliation for hi attempt on his life.
Egil then goes to fight for King Eirik alongside his brother Thorolf.
Later in life we learn that Thorolf is also a berserker, and is sent to fight in battle with his brother Egil by the King. Egil argues that his brother should fight alongside him, but the King separates them, and Thorolf meets his death, not understanding the full responsibility of being a berserker.
Egil, upset by the loss of his brother, makes a bit of a scene at the banquet hall of the King after battle. The King offers him a tribute for the loss of his brother.
Egils life is narrated through both the prose of the story as well as his poetry.
Close Readings:
“Kveldulf said, ‘my foreboding is that I and my sons shall get no luck from this king: and I will not go to him. But if Thorolf returns this summer, he will be easily won to this journey, as also to be made the kings man. Say you this to the king that I will be his friend, and will keep to his friendship all who heed my words; I will also hold the same rule and authority from his hand that I held before from the former king, if he will that it continue so still, and I will see how I and the King agree.’” (Chapter 5, Egil’s Saga)
In the above passage, we see our first interaction with Egil’s family line and a ruling King. Kveldulf is wise, and knows that the affection of a king usually comes with a price, and Kveldulf is not willing to pay that price at his current time in life. He also realizes, however, that his son may have a different opinion, as he is younger and has more to offer to the king.
Kings during this time were very generous to those who served under them. However, that often meant fighting in a war, and many would often lose their life or become seriously injured in the process. Those who made it back were gifted with ranks and riches from their king.
The king realizes that Kveldulf would be a good ally to have on his side, and therefore reaches out in hopes to gain him as an asset.
Kveldulf respectfully declines, but offers the same show of respect and service that he had shown his previous king, and asks only that the king returns that favor to him. He is very smart in the way the he responds to the king, and understands the importance of showing respect while at the same time holding his ground regarding his answer.
“The king saw to the healing of his men, whose wounds gave them hope of life, as also to the burial of the dead with all customary honours. Thorolf and Bard lay wounded. Thorolf’s wounds began to heal, but Bard’s proved mortal. Then Bard had the king called to him, and spoke thus”
‘If it so be that I die of these wounds, then I would ask this of thee, that I may myself name my heir.’
To this when the king assented, then said he:
‘I will that Thorolf my friend and kinsman take all my heritage, both lands and chattels. To him, also, will I give my wife and the bringing up of my son, because I trust him for this above all men.’
This arrangement he made fast, as the law was, with leave of the king. The bard died, and was buried, and his death much mourned. Thorolf was healed of his wounds, and followed the king, and had won great glory.” (Chapter 9, Egil’s Saga)
In this passage, we see the death of Bard, who has served his king in a great battle were many have died. Although he made it through the battle itself, his wounds are fatal, and he now lays dying. He requests the king’s presence so that he may express his last wishes, and the king can make sure that they are upheld. It is the king’s responsibility to see over the law of the land, and to make sure that any death under his rule has proper tribute paid to the family.
Upon bard’s death, the king not only makes sure that Thorolf, who has been named the hair of Bard’s inheritance, not only returns to the family with what was left to him, but he rewards Thorolf for his service, as well as Bard’s service. This is a way that the king shows respect to the families of those who have fallen, and ensures that if there arises another battle, his men will return to fight with him again.
“’Thou didst bear thyelf well, Thorolf, then thou wert with us; and this, I think, is best to do still, that thou join my guard, bear my banner, be captain over the guard; then will no man slander thee, if I can oversee night and day what thy conduct is.’
Thorolf looked on either hand where stood his house-carles; then said he ‘Loth were I to deliver up those my followers: about thy titles and grants to me, O king, thou wilt have thine own way, but my following I will not deliver up while my means last, though I manage at my own sole cost. My request and wish, O king, is this, that thou come and visit me at my home, and the hear word of men whom thou trustiest, what witness they bear to me in this matter; thereafter do as thou findest proof to warrant.’” (Chapter 16, Egil’s Saga)
At this point in the saga, the king has heard of some slander about Thorolf from some of the other men who serve under him. Knowing that the relationship between a king and his men is a very delicate balance, this starts to compromise things for Thorolf. He has approaches the king with not only his payment of what he has collected, but some other gifts as well, that he hopes the king will take in good faith, knowing that Thorolf is indeed loyal to him. The king, however, not trusting Thorolf, decides that although the gesture is well placed, he would rather Thorolf take a position where the king can keep a close eye on him.
Similar to the reaction of his father Kveldulf, Thorolf knows that there are prices to being so devoted to a king, and respectfully declines the offer. He knows he must keep the peace though, and invites the king to visit his home and speak to the people of his kin and ask them of his trustworthiness. The king is not pleased, however, with Thorolf's answer. This starts to create a spark of tension between the King in Thorolf that, we find out later, will ultimately lead to Thorolf's death.
Annotated Bibliography
Guðmundsdóttir, Aðalheiður. "The Werewolf in Medieval Icelandic Literature." The Journal of English and Germanic Philology 106.3 (2007): 277-303. JSTOR. Web. 17 Nov. 2014.
In this article, we get a look into the idea of shape shifters, as well as the idea of a "berserkir" warrior. The article starts by discussing the vocabulary used in the sagas to describe those who have the ability to take form of a wolf or bear. The word "hamr" can be used either to describe the actual taking form of another creature, or it can also translate to mean the putting on of a pelt of another creature. It then continues to discuss how the word "berserkir" is derived from a word meaning "bear skin" and can be associated often with people who have the shape-shifting ability. After looking at these ideas of ware wolf and ware bear, the author then asks the question, where do the ware wolves come from if there are no wolves that are native to the Icelandic lands? The author continues to discuss the importance of wolves in literature, both in Icelandic Sagas, as well as others and suggests that maybe the wolves came into the sagas from an outside influence such as the Celtics. We do determine in the end though, that the idea of a shape-shifting warrior was a tradition that showed up in many of the sagas and was important to the culture of the Icelanders.
Hume, Kathryn. "From Saga to Romance: The Use of Monsters in Old Norse Literature." Studies in Philology 77.1 (1980): 1-25. JSTOR. Web. 17 Nov. 2014.
In this article, Hume examines the evolution from the Icelandic Saga, to the genre of Romance. She argues that the element of the supernatural, although not the sole factor, is one of the key ways we can look at this evolution, and see where the stories went from family sagas to courtly romances. The article argues that the supernatural influences are “trivial and artistically uninteresting’. It is also stated that one of the reasons that people might have become more drawn to romance over family sagas is that they were yearning for less realistic literature and more literature where they could escape their lives and read about the romances they dream about instead. Using sources such as Egils Saga, Beowulf, and Tolkien’s “The Monsters and the Critics” Hume makes a strong argument for the evolution of literature using the supernatural element as the theme to follow.
Schach, Paul. "Instant Saga Style: The Evidence of the Manuscripts." The Journal of English and Germanic Philology 85.3 (1986): 404-20. JSTOR. Web. 17 Nov. 2014.
This article explores the idea that the manuscripts of the sagas that we have today may not be the original form of the sagas as they were first written. Schach argues his side be taking a look at the form in which the sagas we have are written. The style of the writing and the language that it uses shows a difference, despite being written by the same author. By comparing not only different sagas, but also same sagas from different manuscripts, we can see that the styles very greatly, some by large word counts, and others simply by the style of wording that is used. The style in which most of these sagas show up relates to a lot of the same style that we see the stories of saints being told, suggesting that the original sagas may have been told in a more complex style that the sagas we are familiar with today.
Checkpoint 3
Annotated Bibliography
Finlay, Alison. "Egils Saga and Other Poets' Sagas." Introductory Essays on Egils Saga and Njáls Saga (1992): 33-48. Web. 14 Dec. 2014.
In her article, Finlay explores different poet sagas in Icelandic culture, using Egil as a base for the comparison. We can see, like others who have tried to categorize Egil’s Saga that it does not quite fit in with others of its kind. We learn that the poets’ sagas revolve a lot around love and wooing a woman, where we only see Egil’s love for his wife (who is his brother’s widow) as part of a larger picture. Finlay also points out that Egil’s appearance is strikingly different from the other poets, separating him even more from the standards put in place for poet sagas. However, in the end we see that Finlay categorizes Egil as a poet saga, placing it differently than the family sagas, or Icelandic fiction like we have seen others do.
Grimstad, Kaaren. "The Giant as a Heroic Model: The Case of Egill and Starkadr." Scandinavian Studies 48.3 (1976): 284-98. Print.
In her article, Gremstad takes a close look at Egil’s Saga, and asks a very important question about the text; should this saga be judged on the same level as other family sagas, or should it be looked at as a different style? She argues that although we see the traditional telling of the family history, tracing back to more than just the immediate family of our hero, we can see that there are many elements that are a bit too supernatural to have this part of the family sagas, which are traditionally more historical. That is not to say, however, that this kind of story is not unheard of in Icelandic fiction. Egil’s author makes a deliberate decision not to make the family more ‘humanized” in order to keep the story to the family saga traditions, but instead focuses a lot of the idea of the giants in the family line.
I found this article within the bibliography for Kathryn Hume "From Saga to Romance: The Use of Monsters in Old Norse Literature."
Hines, John. "Kingship in Egils Saga." Introductory Essays on Egils Saga and Njáls Saga (1992): 15-32. Web. 14 Dec. 2014.
In his article, Hines discusses an introduction to the idea of kingship in Egil’s Saga, and how it very strongly effects the storyline at hand. We can see from the very beginning of the family line that there has always been a struggle with Egil’s family and the kings they are associated with. In fact, some scholars might even go as far as to claim that the family is cursed. Exploring the relationships of king staring with banishment, and going as far as the death of Egil’s father, we can see that Hine’s argument that kingship moves along the story of this text holds strong. Despite Egil’s ability to keep cool tempered or not, the social definition of what makes for a “good king” can be used as a solid argument for the poor treatment of Egil’s family.
Reflection
While researching Egil’s Saga, I found that there are three topics that seem to be popular among the scholars that have been published. They are concerned with the style of the sagas, the idea of a berserker, and the element of the supernatural within the text. Some of these three even overlap in some of the articles such as Grimstad’s “The Giant as a Heroic Model” where she uses the idea of a supernatural element as part of her argument for the style of the text. There are a number of different ideas about how this text should be looked at, whether it is as a work of fiction, or as a family saga. All of the articles seem to agree though that this text is not part of a cookie cutter style that fits in with others of its time. Hume also argues the influence of the supernatural on the saga, saying that it is part of the evolutionary path of the style of literature during the time.
Guðmundsdóttir’s "The Werewolf in Medieval Icelandic Literature" speaks to the idea of the berserker in the Sagas, as well as a supernatural element pulling apart the idea of a werewolf in sagas by arguing that the people of Iceland would not know what a wolf looks like, as they are not native to the country. He also discusses the idea the translation might have a key to how we read the saga, as we could be misinterpreting what the author was trying to get across. The scholars often try to compare the text to the other Sagas, questioning its authorship and reliability.
Query
What question about your text(s) has occurred to you as you have completed your research?
Why is Egil’s saga so different from the other sagas? I agree with Grimstad’s argument that although it is not in the traditional style of the family sagas, it is no unusual for the culture to have a text like this, but I am really wondering why it is so different and why there are note more that are like it within the family sagas. Could they have been lost through time, or was this one just a new style that the author was playing around with?
Is there an argument in the scholarship that has made you question a point or points in the text(s)?
Guðmundsdóttir’s "The Werewolf in Medieval Icelandic Literature" made me question the use of werewolf in the text. How could they know what a wolf looks like if they had not encountered them before? Could that be a mistranslation? And if so, are they referring to another creature, or are they referring to the general beast like nature of the person being described?
Grimstad’s “The Giant as a Heroic Model” stated that Egil is described as a berserker, but we never get given a full scene where we are given the details of his berserker moment, but we are told about his superhuman abilities. Could Egil have been a berserker, or was he just an extremely lucky and extremely skilled warrior?
Is there something confusing about the text(s) that you think would be worth exploring?
I think exploring the idea of a werebear and the berserker warrior is one that I am interested in, and from my research, can see has been an interest of many scholars. Can these warriors have really existed, or are they simply people who are extremely talented in war? Could some of these physical attributes that would qualify them to be part giant or part animal in battle really be just some sort of genetic disability instead of a strange power? I would be interested to know more about these ideas and read what more scholars think of the idea of shape shifters, berserkers, and giants.
Checkpoint 4
Abstract
Egil’s Saga is a text that a lot of scholars don’t quite know what to do with. Its elements of supernatural, poetry, and family lineage make it unique in a way that it doesn’t fit nicely into just one genre of Icelandic literature. One theme that is extremely prominent in Egil’s Saga is the idea of kingship. The Egil’s family line, from the very beginning of the saga, seems to have a difficult time working alongside kings. Some scholars have even gone so far as to call the family cursed when it comes to kings. The relationship that a family has with e king can play a vital role in how that family lives, or in some cases how they don’t live. A king can be judged by their people on how they treat those who serve them, and I feel that no Saga shows this relationship better than Egil’s Saga.
In my journal article, I would like to explore the importance of kingship in Egil’s saga, and how it plays a major role in making this text so unique among the others of its time. I would like to take a specific look at Egil’s relationship with King Athelstan, as well as Thorolf’s relationship to King Herald. I think that these two relationships speak strongly to the idea of what it is to have a relationship with a king, and what kinds of good and bad fortune it can bring upon a family. I would like to compare the leadership of King Herald to King Athelstan as I believe they handle things in very different manners, and it makes for a very different outcome for their subjects. Using historical references, I would like to take a look at whither King Herald or King Athelstan would be considered “good” Kings of their time based on the interactions they have with Egil’s family.
Argument
Finlay, Alison. "Egils Saga and Other Poets' Sagas." Introductory Essays on Egils Saga and Njáls Saga (1992): 33-48. Web. 14 Dec. 2014.
What is the article's argument?
Finlay argues that Egil’s Saga falls into the category of Poet Sagas more than the traditional family saga form. She argues that the style in which the author presents Egil’s poetry, and the element of love that we see in the other poet sagas makes Egil fit nicely under that title.
Why do you disagree?
From the description that Finlay gives about the other poet sagas, I do not feel that Egil’s Saga fits nicely into the category, and I would argue that the saga falls more into the family saga genre because of its detail to heritage, and importance it gives to the family line. I think Finlay makes a lot of strong statements in her article that shows more than Egil’s Saga is in fact, not a poet saga, and I do not feel that she had convinced me by the end that that is where the saga should be.
What evidence from the text(s) support your reading?
Finlay points out early on in her article that an important element of the poet sagas is the theme of romance, and the idea of wooing a woman with poetry. Although there are moments of romance in Egil’s Saga, and Egil does woo his brother’s widow, there are many other strong themes in the text that overshadow this theme. Finlay also points out that Egil is not like the other poets in the sagas, stating that all of the other poets are described as handsome, whereas Egil is described as unattractive, having some irregular shaped features in his face and body. I feel that because of the strong detail to Egil’s family and their heritage, (we do not even get to meet Egil until more than halfway through the text) that this saga fits more appropriately into the family saga genre.
Annotations
Fjalldal, Magnus. "A Farmer In The Court Of King Athelstan; Historical And Literary Considerations In The Vinheidr.." English Studies 77.1 (1996): 15. Academic Search Complete. Web. 15 Dec. 2014.
In his article, Fjalldal examines the possibility of historical accuracy in Egil’s saga, specifically looking at what is known as the “Vinheior episode” which encompasses chapters 50-55. Using arguments of his peers, as well as his own theories, he argues for the idea that the saga is a blend of historical tellings, as well as a fabrication of fiction. The battle that takes place in this episode has been theorized to be an actual historical battle, and many believe that it seems more fictional due to the oral tradition. Fjalldal also examines the scene in the hall after the battle and analyzes the interaction between Egil and King Athelstan.
Andersson, Theodore. "The King of Iceland." Medieval Academy of America, 74.4 (1999): JSTOR. Web. 15 Dec. 2014.
In this article, Andersson explores the controversy of having a King in Iceland. Iceland did not always have a King to rule over it, and when the Norwegian King came in to rule over the people, it was not something that was accepted overnight. Andersson points out that that we do not find a lot of the attitudes towards the politics of the time due to the nature of Icelandic literature having a lot of recorded facts, but very little implications on general attitudes towards political matters. He specifically references Egil’s Saga in his paper as an example of a text that speaks about kings in Iceland, but not much about the public attitude towards them.
Árnason, Vilhjálmur. "Morality and Social Structure in the Icelandic Sagas." The Journal of English and Germanic Philology 90.2 (1991): 157-74. JSTOR. Web. 15 Dec. 2014.
In this article, we see the author argue the idea of morality in the Icelandic Sagas. The author states that there are two views to use for judging morality, the “romantic” and the “humanistic”, both of which involve some sort of religious viewpoints. The author points out that this can be very helpful in identifying the author, as it can help to identify the religious influences on the text. The author continues to talk about conscious and unconscious morals that are highly influenced by the social structure around the character.